# 28. JADE (1995)
(NOTE: This film was meant to be #21, but I overlooked it in my list, so here it is, out of sequence. A good friend reminded me of its absence when he saw the article. Thank you, kind sir... you are a gentleman, scholar, and all-around great human being)
POSTER TAGLINE: Some fantasies can kill.
CAST: David Caruso, Linda Fiorentino, Chazz Palminteri, Michael Biehn, Richard Crenna, Donna Murphy, Angie Everhart, Kevin Tighe, David Hunt.
DIRECTOR: William Friedkin
IT'S LIKE THIS: San Francisco Assistant District Attorney David Corelli (David Caruso) is assigned to the very high-profile murder case of Kyle Medford (Ron Ulstad), a millionaire who, shall we say, liked to take a walk on the wild side. Ahem. Fittingly, even his death was kinky: he was tied to the wall of his closet and viciously hacked up with a ceremonial African hatchet. "This is about rage," says the evidently very sharp David upon observing Medford's mangled body hanging there. The very appropriate response of the rest of the crime scene crew to this shocker of an observation is "Duh, dude..."
Anyhow, our boy David uncovers some very disturbing things as he looks into Medford's murder. Such as: Medford was evidently a slut who fucked anything that moved. Such as: Medford would loan out his beach house outside Frisco to some very powerful friends to have, um, liaisons with escorts and prostitutes - and had hidden video cameras to record everything. Such as: one of those powerful friends is the Governor of Cali himself: Lew Edwards (Richard Crenna). And needless to say, Governor Edwards is not pleased that his fuck sessions have been caught on tape. Thank goodness this was before the age of YouTube, eh?
But it gets worse: soon, David finds out that his ex-flame, the exotically gorgeous Katrina Gavin (Linda Fiorentino), may be involved in Medford's death. Trina is a sultry, mysterious beauty with shiny raven hair who is also a talented psychologist. But it also appears that Katrina might have a secret life. And she may have a secret identity as "Jade" - a mysterious brunette vixen whom everyone seems to be obsessed with and is very, very, very creative in the sack. A-hem. Are Katrina and Jade the same woman? And why would a brilliant, intelligent, rich, successful and happily-married psychologist like Katrina lead a double life as an elusive woman named Jade who fucks random men? And what will her powerful husband (and David's best friend) Matt Gavin (Chazz Palminteri) do when he finds out? And what happens when Governor Edwards starts to view Katrina/Jade as a threat to his career? How will this all end? Hmmmmm.......
THE GIALLO CONNECTION: This movie is part of what we like to call "Joe Eszterhas Sexy American Gialli Trilogy" from the early-to-mid-90s, along with BASIC INSTINCT and SLIVER. Eszterhas wrote BASIC INSTINCT and adapted SLIVER for the big-screen from Ira Levin's novel. We talked about both BASIC INSTINCT and SLIVER earlier, and cited their sleek, stylish use of mood, visuals, and music to create a sensual, vibrant, Giallo-like atmosphere. JADE picks up where those two left off, and created an even more baroque and sexy feel.
From its opening setpiece with the camera prowling around Kyle Medford's palatial home and capturing its colorful decor and ornate interiors as opera music blares through the halls, to the eerie and dramatic score by James Horner, to the complex plot with more twists than a pretzel, and finally to that sinister zinger of an ending (similar to SLIVER's original ending) which was thankfully not changed and re-shot (unlike what happened to SLIVER), JADE is thick with style and atmosphere. And like UNFORGETTABLE, another American Giallo starring Linda Fiorentino that would be released a year later in 1996, JADE juxtaposes these European elements with more slam-bang American ones. Director William Friedkin is famous for his car chase sequences in THE FRENCH CONNECTION, and one of JADE's most exciting setpieces is a break-neck car chase through San Francisco's roller-coaster streets.
Since they were written by the same man, there are many similarities between BASIC INSTINCT and JADE: the lush, tony San Francisco setting; the mysterious woman at the heart of the mystery who may or may not be a killer; and a classy, colorful style that sets it apart from other American thrillers. JADE is perhaps the most Giallo-like out of the JOE ESZTERHAS SEXY AMERICAN GIALLI trilogy, and is certainly a feast for the eyes and ears....
TRIVIA: William Friedkin (who also directed THE EXORCIST and THE FRENCH CONNECTION) says JADE is his favorite movie from his body of work. Also, Sharon Stone and Julia Roberts were considered for the role of Dr. Katrina Gavin before Linda Fiorentino was cast. However, the role was too similar to Stone's star-making, iconic role of Catherine Trammell from BASIC INSTINCT and Stone didn't want to repeat herself. As for Roberts, she was probably a little too "girl-next-door" for such a mysterious and sexy role.
# 29. THE DA VINCI CODE (2006)
POSTER TAGLINE: Seek the truth...
CAST: Tom Hanks, Audrey Tatou, Jean Reno, Ian McKellen, Paul Bettany, Alfred Molina, Jurgen Prochnow, Jean-Pierre Marielle.
DIRECTOR: Ron Howard.
IT'S LIKE THIS: World-renowned American symbologist Dr. Robert Langdon (Tom Hanks) was hoping for a nice, laid-back working vacation in Paris. Unfortunately, that silly idea gets all shot to shit when he finds himself being questioned in connection to the bizarre death of Dr. Jacques Sauniere (Jean-Pierre Marielle) in the middle of the Louvre after hours. Apparently, Sauniere was supposed to meet with Langdon, but was murdered before he could do so. What important secret was Sauniere planning to pass on to Robert?
Before you know it, French hottie (and police cryptologist) Sophie Neveu swoops in to pull Robert into what basically turns into the Scavenger Hunt From Hell. Soon, our dynamic duo are racing from Paris to the French countryside to consult the help of Sir Leigh Teabing (Sir Ian McKellen) on, well... I'm not sure. Apparently, though, some secret has been protected throughout the centuries by the Freemasons or whatever, and that secret is on the verge of being discovered - and there are people who would kill to prevent that from happening. Working for them is albino freak assassin Silas (Paul Bettany), who is basically a rabid dog that is whiter than a ghost's buttocks.
What is this big secret that has been hidden for generations? And why was Sauniere murdered for it? Will Robert, Sophie, and Sir Leigh find out before they are murdered by Silas, too? And speaking of that whiter-than-ass freak, what is his interest in all of this? Hmmmmmmm....
THE GIALLO CONNECTION: We talked about how American Gialli took the Italian Giallo template and basically went into new directions, while still retaining the classic basics. Gialli are ornate and labyrinthine - often with a sweepingly operatic, European feel. THE DA VINCI CODE is a good example of an American Gialli that tweaks the formula and raises the stakes - while still staying true to it. We still have the innocent American overseas who is pulled into a complex mystery based in the esoteric and artistic. We still have the setpieces that are elaborate and balletic and all build upon one another. We have the vicious killer (sans black gloves and Fedora, this time) who targets the protagonists and tries to foil their agenda.
I remember seeing THE DA VINCI CODE when it first came out and noting how Giallo-like it was. Being based on a blockbuster book, it is sometimes easier to view it as a glossy just another "Big-budget Hollywood Thriller." It is that, too, for sure - but at its heart it bears the stamp of those Italian Gialli that first created the stylish elements that THE DA VINCI CODE flaunts. In fact, I felt some validation when, years later, I read in Howard Hughes' (not the famous millionaire) book, "Cinema Italiano," that he felt THE DA VINCI CODE is basically "an Argento film staged by Muppets." By that, he clearly meant the movie had Argento's style - but not the edginess. I agree completely...
TRIVIA: Bill Paxton was reportedly director Ron Howard's first choice for the role of Robert Langdon. Other actors considered (before Tom Hanks accepted the part) were George Clooney, Russell Crowe, Hugh Jackman, Jim Carrey, Pierce Brosnan, Christopher Eccleston, and Ralph Fiennes. Also, Audrey Tatou was reportedly Howard's first choice for the role of Sophie Neveu. Other actresses considered before Tatou finally accepted the part, include: Sophie Marceau, Julie Delpy, Judith Godreche, Linda Hardy, Virginie Ledoyen, and Kate Beckinsale.
# 30. ANGELS & DEMONS (2009)
POSTER TAGLINE: Let angels guide you...
CAST: Tom Hanks, Ayelet Zurer, Ewan McGregor, Armin-Mueller Stahl, Nikolaj Lie Kaas, Stellan Skarsgaard, Pierfrancesco Favino, Cosimo Fusco, Victor Alfieri, Marc Fiorini, David Pasquesi.
DIRECTOR: Ron Howard
IT'S LIKE THIS: Barely getting a chance to breath after his Great French Adventure in THE DA VINCI CODE, American symbologist Dr. Robert Langdon (Tom Hanks) is yanked back to Europe in this sort-of-sequel, where he promptly begins his Great Italian Adventure in Rome. Just like before with Sophie Neveu (Audrey Tatou), this time he gets another local hottie for a sidekick: Dr. Vittoria Vetra (Ayelet Zurer), an Italian physicist whose technology (some shit called "anti-matter") was stolen by a baddie - and now she must get it back or else the Vatican will explode. Or something. Hmmmmmm... didn't this same kind of thing happen with Dr. Christmas Jones (Denise Richards) in THE WORLD IS NOT ENOUGH? Whatever.
Anyhow, it just so happens that now is the worst time for this crap to happen, because the new Pope is about to be announced. And it appears that the theft of Vittoria's anti-matter was engineered by the killer to sabotage the papal announcement. To make things worse, all four of the papal candidates are abducted by the killer and imprisoned in horrible booby-traps that even Dr. Hannibal Lecter would admire. Then, just to make sure there are absolutely no rays of hope anywhere, our killer also jerry-rigs Vittoria's anti-matter into... a six-megaton nuclear bomb that will go off as soon as the battery of the canister housing the antimatter runs out. Got all of that? Good. Whew. Our baddie has been busy.
On your mark. Get set. Go! Now watch as Robert and Vittoria and hottie priest Patrick McKenna who looks a lot like Ewan McGregor (what the fuck is an Irishman doing in the middle of the Vatican?) rush to not only find and save the kidnapped papal candidates, but also defuse the anti-matter nuclear bomb. Paging Dr. Christmas Jones, we need your help. Prontissimo, bella!
THE GIALLO CONNECTION: As with its predecessor THE DA VINCI CODE, ANGELS AND DEMONS sports an ornate, colorful style mixed with a sprawling mystery and elaborate setpieces. This movie is actually more energetic and adrenalized than THE DA VINCI CODE, which feels more methodical and leisurely by comparison. ANGELS & DEMONS has all the stylish Giallo trademarks, but also more action. Truth is, we like it better than the previous movie, mainly because of the more kinetic plot and the fact that it's set in Italy - which further enhances the Giallo connection.
ANGELS & DEMONS' finale is also pure Giallo: with an ostensible baddie revealed, and everyone thinking the mystery has been solved - but then something keeps bothering the hero until he realizes what it is: someone else is the real killer. And this leads to the true final confrontation. We've seen this type of double-twist reversal at the end of DEEP RED, TENEBRE, OPERA, and THE BIRD WITH THE CRYSTAL PLUMAGE. Hans Zimmer's ominous musical score also lends the film with a grand, theatrical flair - making it a larger-than-life experience, which is what all Gialli (Italian or American) should do.
TRIVIA: Although THE DA VINCI CODE precedes ANGELS & DEMONS in the cinematic universe, in the literary universe their order is reversed: ANGELS & DEMONS precedes THE DA VINCI CODE. Also, Ewan McGregor's character Patrick McKenna was actually Italian in the novel, with an Italian name. But the character's nationality was changed when Leonardo Di Caprio was offered the role. When Di Caprio turned it down, McGregor was cast.
# 31. ALL THE BOYS LOVE MANDY LANE (2013)
POSTER TAGLINE: It's the kind of party where everyone gets wasted...
CAST: Amber Heard, Anson Mount, Whitney Able, Michael Welch, Edwin Hodge, Aaron Himmelstein, Luke Grimes, Melissa Price, Adam Powell.
DIRECTOR: Jonathan Levine
IT'S LIKE THIS: Ah, Mandy Lane (Amber Heard)... She's like the Angelina Jolie of her small southern town, and doesn't even know it. Everyone is obsessed with her and can't stop talking, lusting, gossiping, and jonesing after her. Especially jock stud Dylan (Adam Powell), who lures Mandy to one of his pool parties one night. Unfortunately, Mandy's jealous "friend-zone-only-please" buddy Emmett (Michael Welch), cons Dylan into doing something very, very stupid to impress Mandy - and our hot jock stud winds up half-naked, wet, and dead in the pool. Better if you don't ask. Trust me...
So, anyway, flash forward like a year later, and we find that Mandy is now hanging out with Dylan's hip crowd, which is basically made up of the coolest kids of the school. And it also turns out that Emmett and she are no longer hanging out - primarily because of that incident at Dylan's place. Wonder why? Anyhow, Mandy heads out of town for the weekend with her new "friends" to party-hearty at some isolated ranch. Her new "pals" are: (1) Chloe (Whitney Able), slut who is as ugly inside as she is pretty outside and is jealous of Mandy; (2) Bird (Edwin Hodge), dude who wants to fuck Mandy; (3) Marlin (Melissa Price, another slut who is a ugly inside as she is pretty outside and who also is jealous of Mandy; (4) Jake (Luke Grimes), another dude who wants to fuck Mandy; (5) Red (Aaron Himmelstein), another dude who wants to fuck Mandy; and (6) Garth (Anson Mount), ranch hand who looks after the place - and, yes, he also wants to fuck Mandy.
Anyhow, it's not too long after they arrive at the ranch, that everyone starts getting killed off in , awful, awful ways. Five words:
death by deep-throated shotgun." And if there is anybody out there turned on by that phrase, then god help you. So... who is doing the killing? Is one of the guys offing the competition so he can, you know, git wit Mizz Lane? Or is it one of the girls, who hide their jealousy behind smiles so fake you just want to barf? And is Mandy really so hot that people would kill each other over her? Survey says: no.
THE GIALLO CONNECTION: The Italian Giallo that ALL THE BOYS LOVE MANDY LANE most reminds us of is Mario Bava's ECOLOGIA DEL DELITTO/TWITCH OF THE DEATH NERVE from 1971. Both films are set in remote country locations. Both films feature a cast of very unlikable characters who are brutally offed one-by-one for reasons that remain secret until the very end. And both films feature nasty final twists which make us re-examine and question everything we saw that came before.
ALL THE BOYS LOVE MANDY LANE also has an interesting combination of sleekness and grit to it. On one hand, it's a very handsome movie. On the other, it also has a certain harshness in look to it that tends to keep the viewer off-balance and at a distance. Unlike many of the slick and polished neo-slashers that came out in the wake of SCREAM's massive success in 1996, ALL THE BOYS LOVE MANDY LANE has a variety of textures and moods to it. In that regard, it harkens back to the Italian Gialli of the 1970s that had the same peculiar, contradictory feel to them.
And then there's that humdinger of a final twist that echoes the finest Italian Gialli, which gives this movie a visceral, Giallo feel missing from most post-SCREAM slashers. The end credits are also quirky and colorful, with a popular 70s song playing over them: let's just say I will never listen to Bobby Vinton's 1972 classic "Sealed With A Kiss" ever again without feeling creeped out.
TRIVIA: Even though it was actually filmed back in 2006 and actually first released on DVD in 2008, ALL THE BOYS LOVE MANDY LANE was never released theatrically in the United States - despite getting fairly positive reviews at film festivals. It is now scheduled to be released in North American theatres by Miramax for a limited run in early October 2013.
